Art for me is the business of recreating experience.

This includes an approach that translates imagined architectural concepts (improvisational drawings and paintings) into sculpture.

I paint to show others how I see and I value how direct perceptual experience is conveyed. Mine is an abbreviated naturalism, bypassing photography, “borrowed” from quick, on-site studies of actual buildings; aesthetic beacons whose proportions and scale lend meaning to the built environment. So it is important for me to connect this balance - between direct observation and invention - to my imagined forms. 

For Twenty years I’ve been balancing my studio time between painting and sculpture. It’s not a rigid divide. In fact my practice has been ‘about’ dissolving boundaries between them.

My paintings double as concept tryouts for sculptures. They help me find my forms, but I’m as conscious of them as fields of color and light as I am of their use of planes in defining structure. I’m intent on transposing my imagery concepts from paintings that stand on their own, into the realm of sculpture. 

Much of my work relates to architecture and design. I first fell in love with Architecture when I realized I was looking at an idea that was first conceived on a two dimensional plane. As in architectural practice, my drawings and scale model prototypes also serve as representations of larger works. 

At the time when Vasari spoke of the term “disegno” as the father of the three arts, it was possible for a painter, sculptor or architect to extend their practice to any other of the three fields. As drawing is essential to my envisioning process, this resonates for me today.